Miller,
Arthur. Death of a salesman: certain
private conversations in two acts and a requiem ... With five etchings by Leonard
Baskin. New York City: The Limited Editions Club, 1984. 4to. [12], 5–164,
[3 (1 blank)] pp.; 5 plts.$975.00

Click the images for enlargements.

 This Limited Editions Club copy (no. 880 of 1500 printed) is signed by both the playwright and the illustrator at the colophon.

The binding is full rusty-brown Nigerian goat, stamped in gold on the spine. The etchings are by Leonard Baskin, a series of five portraits tracing the downward spiral of Willy Loman — a powerful complement to Miller's portrait of a salesman at the end of his career and at the end of his rope! The plates, printed by Bruce Chandler, are each protected by a brown paper tissue guard. The book is designed by Benjamin Schiff, who chose a Bulmer font for the text.

This offering includes the monthly newsletter but not the mailing notice.

 Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 540. Binding as above. One of the tissue guards is loose but otherwise undamaged. Fine, in the original slipcase. A handsome production of one of the most performed plays in the world! (21754)

 Milton's masque in honor of chastity, here accompanied by facsimile versions of the original five songs by Henry Lawes (edited by Hubert J. Foss) and six color-printed illustrations by Mildred R.H. Farrar: a frontispiece, a title-page vignette, and four plates. The Earl of Ellesmere supplied the foreword.

The text was printed in Fell types, with the music in Walpergen type, by John Johnson at the University Press of Oxford; the illustrations were printed from the artist's linoleum cuts by the Curwen Press; and the binding was done by the Leighton-Straker Company. This isnumbered copy 505 of 950 printed.

 Dreyfus, History of the Nonesuch Press, 109. Publisher's faux vellum with yapp edges, blind-tooled with rules and arabesque decorations, spine with gilt-stamped title; spine darkened, extremities rubbed, minor dust-soiling more pronounced to back cover, small area of light staining to lower front joint and adjacent cover. Slipcase lacking. Pages very slightly age-toned, all edges deckle. A good solid copy of a beautifully produced work. (33370)

 John Milton was commissioned to write this masque by his good friend, Henry Lawes, for John, Earl of Bridgewater, on the occasion of his becoming President of Wales. It was first performed by Lawes himself and the Earl's children at Ludlow Castle in 1634. The masque's five songs were set to music composed by Henry Lawes, and this music is printed in two parts (for treble and bass clefs) on 12 pages immediately following the text. The prefatory materials to this edition, which is limited to 1500 copies, include an introduction to the play proper by Mark van Doren and an explanation of the music by Hubert Foss.

The illustrations consist of six full-page watercolors by Edmund Dulac. The LEC bibliography says they were “printed in process offset,” but this is in error: The mailing notice (not present with this offering) asserts they were “reproduced in six printings by the Sun Engraving Company,” and a member of the family that owned that enterprise observes to us that it did not in fact have offset presses — while it was noted for its color letterpress productions, including the original (1940) Szyk Haggadah. The design is by John Dreyfus, who chose a monotype Bembo font printed by the University of Cambridge Press; the engraving of the music was done by G.T. Friend.

The binding is quarter gold-stamped vellum with marbled paper sides; top edges are gilt.

 Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 250. Binding with a light, small stain on back cover. Clean inside; bookseller's small label on rear pastedown. Original slipcase, with light scuff marks and minor paper loss at head and foot of mouth. A fine book, in a very good slipcase. (23002)

 First U.S. editionof this comedy about literary identity and the attentions paid to a successful author, based on a real-life incident in which a European baroness began to write to Moore following the appearance of his Evelyn Innes. This was a limited edition of 895 numbered copies, of which the present example is no. 351.

Nichols, Emma J. The Original Old Folks, Formerly Father Kemp’s Concert Book, containing the words of the pieces sung by the company, and also the songs of Emma J. Nichols. Boston: Stacy & Richardson, [ca. 1850–80]. 24mo (13 cm; 5"). 32 pp.$135.00

Click the images for enlargements.

 Sole edition of this songster. Contains lyrics only for both sacred and secular songs; probable date of publication not before 1850 based on contents. (Also, Nichols was a mezzo-soprano who performed from ca. 1860 to ca. 1876.)

Wikipedia explains: “An Old Folks Concert was a form of musical and visual entertainment at which early American compositions by such composers as William Billings and Daniel Read were sung in period costume, while demonstrating early singing school methods.”

 A humorous rendition of the playwright's own youthful romantic indiscretions, here with an introduction by Walter Kerr, red and blue decorations drawn by Sylvie Roizen, and
eight full-color plates (four of which are double-page spreads) printed by Holyoke Lithograph Co. from oil paintings by Shannon Stirnweis. The artist elected to “bring the reader into the setting as a member of the audience” (according to the newsletter) by depicting the first scene as if the viewer were sitting in the theater, with subsequent images moving the viewer on stage and sweeping the other audience members out of sight.

This isnumbered copy 1346 of 1500 printed, signed at the colophon by the artist. The appropriate Club newsletter and prospectus are both laid in. The volume was designed by Adrian Wilson, set in Monotype Kennerley and Mars types, and printed on Curtis wove paper by Clifford Burke at Mackenzie and Harris, Inc.

 Bibliography of the Fine Books Published by the Limited Editions Club, 445. Publisher's quarter red cloth and firework-printed paper–covered sides, spine with printed paper label, in original glassine wrapper and matching slipcase; glassine wrapper with small portion torn away from lower back edge and nicks to lower edge and spine head, slipcase with one nick to paper at one edge of foot, volume clean and lovely. Overall in beautiful condition. (34066)

 First published in 1940 and performed six years later on Broadway, O'Neill's drama about despair and disillusionment playing out at an American bar is considered one of the playwright's most ambitious and famous works.

For the present edition, limited to 2,000 copies of which this is number 1496, artist Leonard Baskin (1922–2000) designed the text using monotype Janson font and created nine full-page black and white drawings of O'Neill's characters, reproduced by Meriden Gravure Company, and one sanguine lithograph pulled on Arches paper by Fox-Graphics Editions. In her introductory essay, “O'Neill and Baskin: The Iconography of a Double Exposure,” art historian Irma Jaffe analyzes the illustrations and traces the parallels in the art and lives of the playwright (1888–1953) and Baskin, who has signed this below the colophon.

Binding: The play was printed and bound at the Stinehour Press in Lunenburg, VT, in full Curtis gray paper–covered boards with printed paper labels on the spine and front cover. It is rather bleak-looking — which is perfectly appropriate given the nihilistic theme of the play.

This offering includes the monthly newsletter.

 Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 525. Binding as above. Fine, in a fine slipcase. (30747)

 Collection of early editions of four comedies by composer and playwright Parabosco. Two other plays are cited by Brunet as part of the overall work, but are not present here; Adams and some other sources describe the six pieces as separately issued. The plays included in this volume are L’Hermafrodito, Il Marinaio, Il Viluppo (with a publication line dated 1568), and Il Pellegrino.

 Adams P238, P239, P246 (1560 ed. only), P243; Brunet, IV, 356. Contemporary vellum-covered boards, spine with inked title; vellum slightly soiled, with spine title faded. All edges stained blue. First title-page mounted and several leaves with outer margins or upper outer corners reinforced, two pages with loss of a few letters at upper outer corners. Second play lacking two preliminary leaves and final register leaf. Two leaves with annotations in an early inked hand, now faded; pages with intermittent mild waterstaining.

 A well-done poetic skewering of prominent literary Philadelphians
(poets, playwrights,
journalists, periodical editors and publishers) of the mid–19th century
as well as fulmination on some practices and events. Uncommon, as one would
expect, asprivately
printed.

 In addition to The Honey Moon (starring James Warde and Eliza Chester) and the forthcoming Love's Victory (starring Daniel Egerton, Charles Kemble, and Maria Lacy), this playbill also advertises a melodrama called Jocko, the Brazilian Monkey, featuring Monsieur Mazurier's “11th appearance in England” alongside a cast of “Brazilian Girls, Negroes, &c.”

The French acrobat-mime Mazurier was, according to one contemporary critic, “not only the monkey, but the monkey of taste and discrimination, claiming approbation far more from a due representation of the restless, impulsive freakishness of the animal, than by extravagant bodily leaps and exertion, although there is quite sufficient of both” (The Examiner, 14 Nov. 1825).

 As issued, three edges untrimmed. Gently age-toned with a few light spots and smudges. An uncommon, amusing, and eminently displayable theatrical item. (37050)

 Charles Somerset's popular play, starring Charles Kemble as the Bard, with Maria Lacy as Queen Elizabeth — advertised here in only its third performance, following its debut on 29 October. The stage sets and “new scenery,” including Shakespeare's house, the Globe Theatre, and the audience chamber in the palace, are listed and, in a few words each, described.

In addition to the piece about Shakespeare's youth, the company was also acting Romeo and Juliet, withFanny Kemble portraying Juliet in “her 14th appearance on any stage,” and The First of May and The Robber's Wife were additionally on the bill.

 As issued; lightly age-toned and creased, and slightly unevenly trimmed with header shaved. Short tear from margin touching four lines of text, without loss; “Garden” portion of header chipped. Interesting documentation of the 19th-century English theatre world's engagement with Shakespeare, and of the Kemble family's progress. (37055)

 Unusual theatrical bifolium: two attached playbills from 1829. The first sheet advertises a Shakespeare production starring Mr. Aitken, Mr. Kean, Mrs. Faucit, and Miss Faucit, along with“a Splendid Comic Christmas Pantomime” called Jack in the Box; or, Harlequin and the Princess of the Hidden Island. The latter includes a descriptive list of the scenes as painted by Clarkson Stanfield (“The Giant's Dining Parlour,” “Lime-Kilns, near Gravesend,” “Cheesemonger's Shop and Wine Vaults,” etc.).

The second sheet is for Stanfield's “Grand Local Diorama,” the grand finale of which involved the “magnificent display of the Falls of the Virginia Waters, seen through the Fairy Temple of Luminaria” — facilitated by a hydraulic apparatus capable of discharging 39 tons of water, “forming a coup d'oeil never before witnessed on any stage.”

A contemporary of Stanfield's once called him “the prince of scene-painters,” and his dioramas were legendary for their beauty and immersive effects.

 Advertisement for the classic of classics, to be performed in a theatre newly “superbly decorated, after the design of the architect of the establishment, and under the superintendance of Mr. F. Grace.” This production starred famed Shakespearean actor William Charles Macready (whose rivalry with American actor Edwin Forrest later sparked the Astor Place Riot) and Harriet Waylett (later the manager of the Strand Theatre); it was followed by lighter fare in the form of Comfortable Lodgings and The Dumb Savoyard and His Monkey.

The evening's theatrical performances were preceded and concluded by the house band (conducted by H.R. Bishop) performing Spohr's Overture to Der Berggeist, Rossini's Overture to Eduardo e Cristina, and Lindpaintner's Overture to Joko, le Singe du Bresil.

 As issued, one edge untrimmed. Age-toned, with faint creasing. An evocative and very displayable theatrical item. (37053)

 First edition. Born in 1816 in the small town of Tizayuca in what is now the state of Hidalgo, Rodriguez Galvan is widely credited with beingthe initiator of the Romantic movement in Mexico. He wrote novels, poetry, plays, and was the editor of several periodicals, most especially Calendario de las Señoritas Mexicanas and Año Nuevo, El Recreo de las Familias. He died of yellow fever in Havana in 1842 at the age of 27 while en route to South
America on a diplomatic mission. A few of the poems in vol. I were penned inHavana before his death.

These volumes offer his “Composiciones líricas originales” in vol. I and “Composiciones dramáticas originales” in vol. II. The frontispiece is a fine lithographic portrait of Don Ignacio, in Romantic style of course; there is a liberal use of handsome tailpieces. The whole was compiled and edited by the author's brother Antonio.

This first edition is uncommon in our experience as dealers in Mexicana.

 Early, uncommon edition (first printed in 1630) of the tremendously popular Latin-language academic farce that introduced the title's modern English usage. First produced in 1615 in Clare College, Cambridge, the play, which took six hours to perform at its premiere, mocks a foolish lawyer prone to particularly inept use of legal jargon in Latin. The copper-engraved frontispiece here features the protagonist in front of an array of reference books and case documents such as “Proude Buzzard contra Peake Goose.” This is the stated “editio quarta, locis sexcentis emendatior.”

 Pickering “Wreath” edition: The complete plays plus a glossary, all set in impressively minute but legible diamond type in double columns — The Tempest takes up just 16 pages — in a single, beautifully bound volume. Unillustrated but for the handsome frontispiece portrait of Shakespeare by H. Robinson (dated 1832, as seen in other copies) and one cute circular vignette, it rather wondrously represents the day when fonts were not scalable with the touch of a button but when such dense yet clear text as this was laid in the composing stick line by line andtiny lead letter by tiny, individual lead letter.

Provenance: Front pastedown with Eton bookplate commemorating presentation to Gualterus Gulielmus Radcliffe [Walter William Radcliffe, 1847–1923], 1861. Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

 Both handsome and eminently readable: One of the most debate-provoking of Shakespeare's comedies, here printed in large and legible type and illustrated with36 particularly lovely, mounted, color-printed plates by Sir James D. Linton. This is the trade edition, rather than the numbered limited; it opens with Sir Arthur Thomas Quiller-Couch's prose retelling of the play's plot. This example preserves the now-uncommon original publisher's box, with affixed color illustration.

 Publisher's cream paper–covered boards with green linen shelfback, front cover with gilt-stamped title and vignette, spine with gilt-stamped title, in original publisher's box as above; box and lid worn with several corners split (now neatly repaired) and edge label chipped; volume with very faint traces of wear to spine extremities, otherwise notably fresh and clean. A beautiful presentation. (36008)

 Tonson's separate edition, with an engraved frontispiece by Paul Fourdrinier; it also opens the text with aterrific headpiece. Printed as part of the publishing war between Tonson and Walker, this edition bears an advertisement warning of the “innumerable Errors” of Walker's “Useless, Pirated, and Maim'd Editions.”

 ESTC T54732, covering also an edition of multiple plays that apparently shared plates with this series of stand-alones. Removed from a nonce volume, now in a light marbled paper wrapper. Pages mildly age-toned, otherwise clean. (35509)

 Two handwritten cards from Shaw to Mealand, regarding “this proposed G.B.S. – G.K.C. page.” At the time, Mealand was editor of Nash'sPall Mall Magazine (owned by the National Magazine Company, to which these cards are addressed); G.K.C. was Gilbert Keith Chesterton, famously one of Shaw's favorite philosophical sparring partners and possibly his most beloved enemy. The first card, from 15 May 1933, takes a lightly ridiculing tone in stating that the author cannot possibly interrupt his “serious work” to engage in such commercial business unless paid “an enormous sum” — whatever Mealand is paying Chesterton, to be specific; the second, from 21 June 1933, notes that Shaw's reply to Chesterton has already run long and “too heavy for the occasion,” and suggests his plans for revising it.

Sent from Shaw's home in Ayot St. Lawrence and postmarked in Hertfordshire, both cards areinscribed in Shaw's distinctive hand and signed with his initials.

 Cards crisp and clean, one with pair of staple holes.Delightful and characteristic Shavian ephemera. (37045)

 “One of the most popular of the 'Plays Pleasant' of Shaw's early dramatic period, and . . . the dramatist's first major commercial success in England, written at the height of his powers” (Letter, p. v): Two Shavian classics from the Limited Editions Club, here with an introduction by Alan Strachan. Clarke Hutton illustrated both works with a total of 40 black-and-white drawings and eight color-printed paintings; the volume was designed by John Dreyfus, printed by the Stinehour Press in Vermont, and bound in quarter Irish natural linen with paper-covered sides bearing portraits of Eliza and Candida, the spine title stamped in pure gold leaf.

This is numbered copy 897 of 2000 printed, signed at the colophon by the artist. The appropriate Club prospectus and newsletter are laid in.

 Bibliography of the Fine Books Published by the Limited Editions Club, 478. Binding as above, in matching brown paper–covered slipcase with tan printed paper spine label; slipcase with two small splits in paper along spine, volume clean and fresh. (31978)

 This edition (limited to 1500 copies) of Two Plays for Puritans by George Bernard Shaw — the two plays being The Devil's Disciple and Caesar and Cleopatra — bears both a long preface by the author and notes written by him for each play.

George Him both illustrated and designed the book, and also signed the colophon. The book is heavily illustrated with a considerable number of black-and-white line-and-wash drawings and 14 full-page color illustrations which were hand-colored by the pochoir process at the studio of Walter Fischer. These drawings are both beautiful and witty. In one color plate, for example, we see a line of picketing Egyptian soldiers carrying placards reading, “Egypt for the Egyptians,” and “Caesar Go Home,” the latter appearing in “Egyptian Hieroglyphs”; in another plate, we are treated to a breathtaking scene of the library at Alexandria being consumed by fire; in yet another drawing,
we see an amusing little rendering of Belzanor's description of a seven-armed wife-eating Roman soldier!

Him chose a monotype Plantin font for the text which was printed in Bloomfield, Connecticut, at the Sign of the Stone Book. The binding is full bright red “vellum book-cloth” stamped on the front with a double-eagle (one American, one Roman) design in gold, and stamped on the spine in black and gold leaf with a design of a Roman legionary standard bearing the title and the author's initials. The endpapers are “nugget-gold” Tweedweave.

This offering does not include the monthly newsletter or the mailing notice.

 Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 381. A fine copy with the slipcase, which is covered in “nugget-gold” paper and stamped in black and gold. Slipcase showing traces of rubbing at top and bottom.
A great treat for a Shaw-lover! (21756)

 One of either 12 or 25 copies printed on vellum (as per Alston in the former case, as per Oxford cataloguer and a contemporary note on title-page in the latter). John Bon was originally printed by Daye and Seres in London in 1548 (STC 3258.5) and is here reproduced in letterpress facsimile from a copy formerly owned by Richard Forster

Attributed to Luke Shepherd by Halkett and Laing, this is a satirical poem, a dialogue in verse, on the Eucharist, and could even be seen as a short play. It is printed in gothic (black letter) type witha large woodcut of a procession of the Eucharist on the title-page.

None of the copies reported to WorldCat, COPAC, or NUC are described as printed on vellum. The copy that Alston found at the British Library is not findable via the BL OPAC.

Provenance: Early 19th-century manuscript ownership on front fly-leaf: “Thomas Briggs Esq., Edgeware Road.” Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

 Alston, Books Printed on Vellum in the Collections of the British Library, p. 35; Halkett & Laing (2nd ed.), III, p. 192; Halkett & Laing (3rd ed.), J21 (var.) l NSTC, I, S1667. Original dun colored boards with beige linen shelfback; rebacked, and binding discolored. “25 copies Printed on chosen Parchment” written in ink in an early 19th-century hand in lower margin of the title-page. Foxing, heaviest on last three leaves; last page (a publisher's note and colophon) lightly inked and so a little faint. A nice find for the collector of printing on vellum, letterpress facsimiles, or reprints of rare 16th-century English tracts. (34699)

THIS!TimePay Attention

Sheridan, Richard Brinsley. A comparative statement of the two bills, for the better government of the British possessions in India, brought into Parliament by Mr. Fox and Mr. Pitt...second edition. London: J. Debrett, 1788. 4to (28.5 cm, 11.25"). 39, [1 (blank)] pp.$800.00

 Second edition. Sheridan entered Parliament in 1780, crowning his previous career as a successful playwright and theatre manager with a long and distinguished record of public service. He originally read the main portion of this statement before the House of Commons as part of the debate, after noticing that the gentlemen discussing the two bills in question appeared not to have paid “any very minute degree of attention” (p. 6) to the details of either one.

The texts of both bills are present here, along with Sheridan’s analysis of how each would address “the question of right between the public and the [East India] Company” (p. 39).

 ESTC T30944; Goldsmiths’-Kress no. 13610. Recent marbled paper–covered boards, front cover with gilt-stamped leather title label and spine with gilt-stamped leather author label. Half-title and several other pages stamped by a now-defunct institution. Pages with edges untrimmed and a few small spots of staining; mostly, clean. (10859)

This isone of 475 copies on Batchelor's handmade Kelmscott paper; an additional seven were printed on vellum.

 Publisher's half vellum with printed paper sides, spine with gilt-stamped title; dust jacket lacking as now seen with most copies, vellum dust-soiled with a little rubbing, paper slightly darkened and with two small chips., small chip to paper at bottom edge of front cover and one to lower outer corner of back cover. Internally clean and crisp. Enjoyable. (34010)

 Antonio de Solis was a dramatist and historian whose Historia de la conquista de México, población y progresos de la América septentrional, conocida por el nombre de Nueva España remains a prose classic.He is known to have written only ten plays: Eight are present here.

 First edition, translated from the German by Edith Wharton: Sudermann’s play is about love, politics, and morality. It is not difficult to imagine Wharton’s attraction to this piece, in which one of the final lines uttered by the intelligent, sensitive, unhappily married heroine is “We are all expected to sacrifice our personal happiness to the welfare of the race!”

 First
edition of this
verse comedy written by the poet at the age of 14, edited
by his grandson. 1500 copies were printed by R. Clay & Sons at the Chaucer
Press, Bungay, on “Whitman hand-made paper”; an attractive label
inside the back cover indicates that this copy was acquired (and/or the edition
was distributed) by way of “The Times Book Club, 42 Wigmore Street, London,
W.1.”

 First edition of the first English translation, printed by Nonesuch: Toller's Expressionist drama Masse-Mensch, “first put on paper in . . . the first year of the German revolution, in the prison-fortress of Niederschoenenfeld” (p. viii), heretranslated from the German by Nonesuch partner Vera Mendel herself. The frontispiece is a tipped-in photograph of the Volksbühne production, taken by Lisi Jessen, with three more Jessen photographs showing three of Hans Strobach's set designs. All of the photographs are photogravures.

 Dreyfus, History of the Nonesuch Press, 8. Publisher's batik-printed heavy paper–covered boards, spine with printed paper label; joints and extremities mildly rubbed. Extra spine label tipped in at the back of the volume. Pages very slightly age-toned, otherwise clean. An attractive copy of a little book that intrigues for multiple reasons. (36134)

 Number 1 in the “Speaker Series,” including rousing patriotic speeches, poems by Edgar Allan Poe and others, and ananti–women's suffrage argument. This is a revised and enlarged reprint of the original 1859 appearance, here in orange wrappers bearing a wood-engraved vignette of an orator, the 98 William Street address, and the Beadle's “dime” illustration.

 Publisher's printed copper-colored paper wrappers; back wrapper lacking, front wrapper separating from foot and with small nicks to outer edge. One leaf with closed slit across, not spoiling sense of text; outer edges waterstained. A nice encapsulation of mainstream “presentable” thought on the literature, culture, politics, etc. of the day. (35088)

 Wilder's Pulitzer Prize–winning drama of small-town life and humanity, here with an introduction by Brooks Atkinson, a note from the author, and four double-spread, color-printed illustrations plus additional full-page and marginal monochromes by Robert J. Lee. The volume was designed by Adrian Wilson, who chose Van Dyck for the typeface and Arak antique-finish rag stock for the paper; the brown corduroy binding with gilt-stamped red morocco spine label was done by Tapley-Rutter. The appropriate LEC newsletter and prospectus are laid in.

This isnumbered copy 733 of 2000 printed, signed at the colophon by both Wilder and Lee.

 Bibliography of the Fine Books Published by the Limited Editions Club, 481. Binding as above in terra cotta paper–covered slipcase; slipcase with spine very slightly sunned and extremities showing traces of wear, volume with spine gently sunned, otherwise clean and fresh. Internally very crisp. (36285)

 This is theoriginal prospectus/program for the inaugural season of The Living Theatre, an effort of Judith Malina and Julian Beck: It was probably the first experimental theater collaborative in the United States, andthis pamphlet presents a varied and veritable “who's who” of those involved in the exercise: The initial season's performances took place in the Cherry Lane Theatre in Greenwich Village.

The fore-matter offerings here are: “On Picasso's Desire and T.S. Eliot's Sweeney Agonistes” by J[udith?] M[alina?]; “Reply” by William Carlos Williams; and “In response to a request for a manifesto on music, 1952" by John Cage.

Also present are a few advertisements, and lists of “Who's Who in the Casts,” the staff, and the directors and sponsors of the theater. The image on the front wrapper is a reproduction of a sketch by Picasso of the design for his famous sculpture “Man with a Lamb.”

Curiously, this group of avant garde artists apparently did not feel sufficient solidarity with the working man to have the program printed at a union shop. In fact, it has the feel and look of an “in house” production.

 Nonesuch Press limited-edition production of the only collected
edition of Wycherley. 975 sets were produced, this example being number 99 of
900 on mould-made paper with the Nonesuch watermark. Present here are Wycherley’s
letters and miscellaneous poems, as well as his cynical and often-licentious
plays.

Provenance: With laid-in invoice from the Davenant Bookshop in Oxford,
dated 1924.

 McKittrick/Rendall/Dreyfus 17. Publisher’s quarter brown
buckram over tan paper- covered sides, spines with printed paper labels; gently
worn, two labels chipped, one volume with cloth of a darker shade and noticeable
rippling thereto. Two volumes with hinges slightly tender. Page edges untrimmed,
some signatures uncut. It should be remarked that, by some unexpected trick
of the camera, our righthand picture above makes this set look a bit smarter
than it is; that said, though  it is rightly priced for its real condition
and still worthy of purchase.